Issa Mª Benítez Dueñas ///

THE UNCERTAINTY OF THE REAL. ON THE WORK OF IGNASI ABALLÍ

When in the nineteen sixties there began to appear the first manifestations of a conceptual style in a clear challenge to the status quo of the market and the art institutions, few people could imagine that in a little over three decades they would become the reference for one of the greatest explosions in the art market and spectacle.

In effect, conceptual practices, which freed artistic practice from the object and opened the way for action and process in the scope of what may be defined as “art”, expanded the possibilities of defining the artistic into limits that until then had been unsuspected. This is when there is the emerging or consolidation of practices such as performance art, video-art, arte povera, concrete poetry and other manifestations that at the time went beyond the limits of the traditional supports and definitions of art. The challenge they presented to the critics, to history and to artistic institutions has been more than fully overcome.